Kiwi

Yes, they act like a filter in dampening certain frequencies and allowing others to go through with less dampening.

If your budget can stretch - Kemper Stage profile plus one or two QSC K12.2 active PA cabs. It will slay (nearly) everything else out there for cover band requirements - unless you need some extremely specific effects and then you can insert a Line 6 M5 or something to fill the gap. Failing that, if you have less specific requirements then a Zoom G3X into an active PA cab may be enough. But it can be noisy on the high gain patches and there's no external effects loop. I love the sound of Fender amps and have two at home. The Fender Deluxe Reverb is pretty much a benchmark for Fender flavoured amps and their current tone master version is getting great reviews. However I've played with guitarists using just a Blues Jr and getting fantastic and thick sounds alongside a drummer. So maybe consider pairing one with a preamp pedal like a Joyo JF14 if Fender is your thing. Plus whatever extra effects you might need, e.g. delay, compression, wah, modulation and reverb.

Unicorn in the sense of being the rarest and most exclusive bass I would like to own? Late 70's Alembic Series II 5 string graphite neck. I like the ergonomics of the standard point body and sound. The action can be ridiculously low because the necks are over engineered. Jimmy Johnson has one but it was converted to fretless. I know of only two but maybe there are more out there.

You are more than welcome to PM a mod about this. Send them a link to the post so they don't have to search.

I'm glad someone mentioned this - thanks H. @WonkyOne Posting on here about intentions is fraught with risk IMO if something should kick off.

A spanking? I wasn't so lucky, all I recieved was a jolly good sneering. A bit like walking on stage as a pantomine villain. It gave me a new found appreciation for the word. So I'm grateful for that.

I have two...too good to use with bass. 😁

These days the majority of signature guitars (and basses) for PRS, Fender or Gibson are a standard production instrument with maybe a couple of tweaks at best. The Japanese companies tend to do fully custom signature models but only after an artist has endorsed a mostly standard model for a period of time. Ernie Ball seem to do a bit of both although sometimes it's hard to tell whether they came up with a guitar and looked for an endorsee or looked for an endorsee and made them a guitar. I've owned sigs in the past and have even built a couple but I'd prefer to play something that doesn't set expectations of my playing. For example I'm not going to show up to a Led Zep covers gig wielding a Yamaha JP6 for example. But a BBNE2 might be perfectly OK.

I don't have a favourite bass amp. I tend to choose them to compliment the bass where the colouring of the amp doesn't filter out key frequencies in the bass needed to hear yourself on stage. Some nice matches in my experience are: Fender Jazz -> Markbass CMD103P Fender Precision -> Ampeg SVT Musicman Stingray -> Mesa Boogie Bass 400 Musicman Stingray -> Warwick Pro IV Spector/Smith -> GK RB400 or 700 (or Eden WT400) Status, Modulus or indeed pretty much anything with a graphite neck -> SWR SM400 and 4x10 Status, Modulus or indeed pretty much anything with a graphite neck -> H&K Basebass Status, Smith, Vigier or anything with scooped mids -> Genz Benz Shuttle (flat response power amp) Status/Jaydee -> Trace MkV AND 1048 4x10 Less than great combinations: Status -> Ampeg SVT (just too gritty) Smith -> Eden WT800 (no mids) Status -> GK (highs are too brittle and harsh) I do like Class D amps because they preserve the midrange more honestly to my ears than other designs. If i had to pin my colours to the mast over most satisfying amp, the Mesa would win, with the right bass.

For a while in the eighties, Wilkinson were pretty much the number one OEM hardware supplier to US manufacturers like Valley Arts and some in the UK like Patrick Eggle who Wilkinson worked for. I have a few of their unicorn rare VS100CV convertible guitar trems from that time. A fabulous design which is perhaps only let down by the aluminium base plate and soft fulcrum edges. I did have a Wilkinson bass bridge but the saddles moved about too much due to a lack of locating grooves in the saddle. Where I am online retail apps for musical kit are flooded with Wilkinson parts at pretty much wholesale prices. Not surprising if those product lines are made here. So yeah, mixed results in my limited experience.

80% of luthiery in my experience is fixing mistakes!

For the most part, not to me anymore. My main basses are less than £1800 and I paid way less for them years ago. They sound every bit as good, if not better, than basses I've owned that cost three times more. A Sire V7 5 with maple board and ash body is on my shopping list over the Summer as well, if I can find one that isn't too heavy. I'm looking for a particular kind of character too, which means I'll be trying before I buy rather than taking a leap of faith.

And that natural finish Spector did the rounds amongst BCers. But it's now mine and a keeper.

I've not been that impressed by the Octave videos Ive seen so far. Theres not a lot of that growl.

Unfortunately that's not a feature that exists within the current standard forum software. But we'll investigate the feasibility for future bespoke improvements if they don't affect upgrades.

There's always some selective filtering of the highs when wenge is part of the construction. Wenge with maple laminates is my favourite combo because the wenge adds midrange growl but the maple keeps some of the highs. Both seem to have a decent amount of bass.

I have been gassing for a Status Series II recently but after swapping out the electronics in my Series 1 have managed to get well within spitting difference of the same sound and, in some respect's it's more refined. So I was also looking at a Moon MBC5TN which, like the Thumb 5 is a through neck with wenge laminates but walnut instead of bubinga. Slightly different sound and significantly cheaper and over half the price of a Series II these days. So I've started asking myself whether a Thumb 5 might be do-able. But whenever I've played one acoustically it's sounded and felt a bit dull compared to what I'm normally used to. So I don't know...I'm still in two minds. I do like how they sound on records though.

Horses for courses. I like 15mm spacing for five strings if I'm playing with fingers. If I'm playing with a pick then 18mm or wider is better and preferably a four. Most of the time I play fives and they all have 16mm or less spacing.

I think she overplays in a couple of places (e.g. 1:42 and 2:27) to the point where she not only loses the pocket but misses the downbeat - the Andrew Gouche effect. That second fill at 2:27 could have been half as long and lost nothing in terms of impact. Also, her left hand keeps shooting up the neck after playing a lower register note only for her to pull it back to hit the next note. I'm not sure why but it's a bit distracting. But her phrasing and note choice for those fills is pretty awesome. Yeah mine (4 at the time of release, now 6) too! lol

OK but I have changed the batteries only once in mine after 12 years of ownership. Not that I play it every week but still...much more than twenty hours in total.

Mine's not noticably thirsty compared to other basses I've owned.

Can you me a logical and fully referenced 2500 word essay on the topic of spambots and their impact on effective digital marketing?

Given the absolute limit is 20Khz...and that decreases with age...it doesn't clarify much unless the bandwidth is huge.